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How To Order

Order Fine Art Prints

How To Order     What Is Included     Choosing Size and Media

How to Order and What is Included

Please use the form below to inquire about purchasing an archival-quality fine art or photographic print and I will handle the technical details. Presently, I do not offer self-service online ordering (that will be arriving eventually) nor do I provide mounting, matting, or framing (those must be obtained separately by you until the self-service feature is available).

Except where noted, all portfolio images on this site can be supplied as a print or are available for licensing. Not all images from my catalog are listed, so if you are looking for a subject or image not shown on this site, I may be able to produce an existing or new image to satisfy your requirements.

Choosing Size and Media

If you are interested in understanding some of the considerations that go into selecting just the right print size and media type, and aspects of the subsequent framing process, you might find it useful to read What Goes Into Selecting and Framing a Print, below.


What Goes Into Selecting and Framing a Print?

Because I only provide an archival-quality print, any mounting, matting, and framing services should be acquired separately through a professional framer, and will be an additional cost for you to consider. If you do your own framing be sure to purchase acid-free materials. For advice on this and other topics such as matting and framing, please continue reading this page.

A quick navigation menu will appear at the top right to allow you to easily jump ahead and back again.

Prints are created to my exacting specifications on the same archival-quality papers I have sold through exhibitions and galleries. However, other media such as metal, acrylic, canvas, and standouts (a triptych arrangement using them is shown at the top of this page) are also available for many images on request. For a list of available media types and their applications please see the Media Types section on this page.

Size Considerations and Aspect Ratios

If you are going to have your prints professionally framed, the shop will need to know how large the print is and whether there is any white margin between the image and the edge of the paper (see Mats and Glazing for an explanation of cropped and floating images). From there, they will work out with you how wide the mat (or mats) will be and the thickness and width of the frame, type of glazing, how it will be hung, and so on. I suggest discussing these considerations with your framing services provider before ordering a print if you are concerned about costs.

Alternatively, if you are going to do you own framing using off-the-shelf, standard-size commodity frames, your main concern will simply be the image size and whether you need to have a custom acid-free mat cut for you (again, please see the Mats and Glazing section for important information on this topic).

For example, for the 11 x 14 inch print below, with an aspect ratio of 1.25:1, the standard off-the-shelf frame as state by the manufacturer would be a nominal 16 X 20 inches (sometimes the manufacturer supplies more than one mat size in the same frame and you choose which mat to use). In all cases, the outside of the white mat measures 16 x 20 inches, which dictates the inner frame dimensions.

Mat opening geometry comes in different aspect ratios, which refers to the relationship between the height and width of the image and also influences the frame dimensions:

Frame size only refers to the outer dimensions of the mat; the outer dimensions of a frame that holds the mat can vary considerably based on its style and construction.

Any professional framing services provider can create other frame sizes (i.e., with narrower or wider mats) but be aware that their fees may be higher than for the standard sizes due to custom cutting of the mat, glass, and frame elements, which is why I recommend conferring with them before ordering a print if that is a concern.

The following are a sampling of typical print sizes and their corresponding standard frame sizes grouped by aspect ratio, using a reasonably generous mat width, but custom mats can be created in a variety of widths as you see fit. The mats in the table below vary between approximately 1 and 2 inches, with an image overlap of either 1/8 or 1/4 inch (smaller mats tend to use a narrower overlap).

Disclaimer: The tables below were compiled from a variety of sources; before you order a print conforming to one of the sizes listed below, first check with your framing and mat supplier for availability. I can provide prints in an even wider range than shown below, but not all sizes are appropriate for all images due to image detail (that is, some prints are better viewed when produced at a minimum of 10 x 10, 11 x 14, or 12 x 18, depending on the aspect ratio). Please also note that if you have a special project requiring a very large print (for example, six feet or even much larger) I can work with your printer of choice to provide an appropriate-resolution image file for printing, which will vary based on how close the viewer will be to the print.

Square Images (1:1 aspect ratio; e.g., 8/8 = 1)

Full Frame (nominally a 1.25:1 aspect ratio; e.g., 10/8 = 1.25)

Crop Frame (nominally a 1.5:1 aspect ratio; e.g., 12/8 = 1.5)


Mats and Glazing

Prints should not be placed in a frame without some kind of protection, such as a sheet of glass or acrylic (also known as glazing). A mat or other type of spacer should be used to ensure that the print does not touch the glazing because, ironically, it can cause damage over time when in direct contact with the print.


The traditional aesthetic purpose of a mat is to provide visual isolation between the image and its environment, and the frame sets the viewing boundary to complete the setting. You can elect to eliminate a mat and frame altogether for a more contemporary look by ordering the print on canvas, standouts, and other media (see Media Types for more on this topic).

Although they can be expensive, specially-coated glazing (so-called museum and conservation glass) can be used to reduce glare and UV exposure in challenging locations.

Note that acrylic is usually employed when large framed pieces are going to be shipped or used in commercial settings and there is a concern over breakage. Acrylic is easy to scratch and special care must be taken when cleaning it. It can also bulge in very large frames.


Frames are not airtight and changes in humidity may cause condensation to form on the inside of the glazing. If your print is touching the glass, moisture can seep into the paper, affecting the ink (in the case of a giclée print) or causing discoloration. Worse yet, the image can adhere to the glazing as the moisture dries up, resulting in ripping or peeling if it is later removed.


Even if you maintain a low-humidity environment, if the ink or coating used in the production of the print is still slightly damp, or if the media of the original piece is soft or tacky, pieces of it could stick to the glazing. In addition, glazing can transfer heat and having the print pressed against the glazing may make it more likely to buckle or warp. As an additional step, your framer may also recommend dry mounting larger pieces to keep them perfectly flat against the backer board.

A standard mat crops the original image by 1/8 to 1/4 inch so that the print will not fall out of the mat; if the print is dry mounted, which means the mat and affixing tape or corner mounts are not holding the image in place, the overlap is used for solely aesthetic reasons. As illustrated by the very exaggerated depictions below, the first image shows the completed mat, and the second image reveals the overlap as a faded margin, indicating that a portion of the image is concealed by the mat:

If you wish to mount an image so it floats within the mat (i.e., has a white margin around it as shown below with the same mat) you will need to request your image with a specific white border width. Note that the gray strip in the image below indicates the hidden portion that is covered by the mat, as above:

The paper will retain the original dimensions listed previously, such that a standard commodity frame can be used,  but the actual image itself will be smaller. It will also likely require a custom mat due to cutting tolerances and desired margin sizes of the window portion of the mat. That is, it is likely that using a pre-cut standard mat size will not work and you will need to have your framing shop cut one for you.


Handling: Avoid Touch, Chemicals, Dust, Heat, Moisture, and Direct Sunlight

When you receive your fine art print, do not touch the paper as skin oils can be acidic and cause discoloration over time. After inspecting the print it is best to seal it in the original packaging to protect it until you can arrange to have it properly framed. Special gloves for handling prints can be cheaply obtained.

High quality giclée prints, which are produced by inkjet printers using special pigments, and photographic prints, which are produced on true photographic paper,  can last for many decades if displayed, stored, and handled properly. UV radiation from the sun, heat from vents and baseboards, and high humidity can adversely affect the color fidelity and longevity of fine art prints.

If you do your own framing, I also recommend using an acid-free sealing tape on the back to cover any gaps between the backing board and the frame or, as is done by professional framers, affix a sheet of Tyvek or other durable material to cover the entire back of the frame to keep out dust and other contaminants. Kraft paper should not be used as it can be easily torn.

Use Acid Free

Use Acid-Free Products

If you decide to do your own framing using standard-sized commodity frames available at many arts and crafts stores, make sure the included mat and mounting board are acid free. Sometimes a small amount of buffering chemical (for example, calcium carbonate) is added to the materials, which can extend the life of your print, but buffering alone is not sufficient. For a quick introduction to acid-free, buffered, and unbuffered materials, see this blog entry (I use their materials in my own work).

If you are framing extremely valuable art, a professional framer is your best resource and should certainly insist on using acid-free products and methods. They may even recommend applying acid free tapes to the inside edges of the frame to prevent the matting materials from coming into contact with naturally occurring acids in wooden frames.

Media Types

Media Types

Prints are produced on either true photographic paper (which is exposed to laser or LED light sources) or fine art paper (for giclée prints), both of which are archival quality. Various coatings are available for the photographic prints and several paper types and textures can be used for giclée prints.

Prints can also be requested on special materials. Note that some of these alternatives may be more or less expensive than a fully-framed paper-based print:

  • Aluminum  Waterproof and UV resistant, with various finishes. The print is made with a dye sublimation process to permanently bind the dye to the metal. Because a frame is not required, this can be less expensive than a framed paper-based print. Note that some imperfections can be incurred during the sublimation process, but the lab I use inspects the resulting print to ensure their impact is minimal.

  • Standouts  Basically a box made from lightweight structural boards, with white or black paneling on the sides, and mounting holes on the back. The photographic or fine art paper print covers the entire front surface, edge-to-edge. Because a separate frame is not required, this can be less expensive than a framed paper-based print but the print itself is exposed to its environment, making cleaning and durability an issue in certain settings.

  • Canvas Wrap  Gallery wrapped white poly-cotton canvas. Because a frame is not required, this can be less expensive than a framed paper-based print, but the print itself is exposed to its environment, making cleaning and durability an issue in certain settings.

  • Canvas Floats  The canvas is attached to a thinner backing, which is mounted on a smaller spacing block so the canvas appears to float a short distance away from the wall. Because a frame is not required, this can be less expensive than a framed paper-based print, but the print itself is exposed to its environment, making cleaning and durability an issue in certain settings.

  • Acrylic  This is a very unique material. With the right images, it produces stunning results. It can be reflective (where the print is sandwiched between an acrylic layer and a backing substrate) or transmissive (where printing is applied to the back of an acrylic sheet and can be illuminated from the behind for a unique effect). It may not be appropriate for all images and can be very expensive. Acrylic can also be scratched or shatter and therefore must be placed in a suitable location and cleaned carefully.

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